Carl Peters

Autumn Landscape Painting by Carl W. Peters

This painting, "Tucked In (Home In the Woods)," by Bernard Corey, captures a serene, wooded landscape with a small, tucked-away home surrounded by trees. Corey's attention to the nat...

Painting size without frame: 9"x14" Painting size with frame: 15"x20" This peaceful New England landscape by Bernard Corey shows a quiet farm as winter begins to turn into spring. W...

A wonderfully colorful early piece by William Lester Stevens. Housed in a beautiful period Newcomb-Macklin frame. Great package! William Lester Stevens was born in Rockport, Massachusetts in 1888. He first studied art under Parker Perkins and, by the age of eighteen, had his paintings accepted by the National Academy of Design and won a scholarship to the Boston Museum of Fine Arts School, training under Edmund Tarbell. After studying in Europe he retuned home and helped establish the Rockport Art Association with Aldro Hibbard and Harry Vincent. Until the 1940’s, Stevens remained in Rockport and the Cape Ann area, painting, teaching and continuously showing paintings. Later, Stevens moved to Conway, Massachusetts where he made a studio and continued to paint. He taught classes at both Princeton and Boston University. He won more awards and prizes for his work than any other living American artist in New England. The awards he garnered were impressive, over one hundred national awards and prizes. Among his most outstanding are the 4th William A. Clark Prize from the Corcoran Art Gallery, Washington, DC; the Gedney Bunce Award from the Connecticut Academy of Fine Arts, Hartford, Connecticut; Second Atman Prize at the National Academy of Design, New York City; First Prize in the Springfield Art League, Best Work of Art in Oil Painting in Rockport Art Association shows; and the William Delano Purchase Prize from the American Watercolor Society. He was a member of the Guild of Boston Artists, New Haven Painting and Clay Club, Springfield Art league, North Shore Arts Association, Philadelphia Watercolor Society, New York Watercolor Club, Boston Society of Watercolor Painters, Washington Watercolor Club, Connecticut Academy of Art, Washington Landscape...

This radiant landscape by Emile A. Gruppe captures the warm, rolling hills of a peak autumn. Gruppe’s expressive impasto and dynamic color handling bring the countryside to life, evo...

Charming mid century folk art painting of an autumn valley by Farris (American, 20th Century)Signed "Farris" lower left. Tag on verso from Ohio frame shop ...

Frederick Vezin (1859 Torresdale Philadelphia - 1933 Düsseldorf), Autumn Landscape in the Sunlight, oil on canvas, mounted on cardboard, 32 x 41 cm (inside measurement), 44 x 51 cm (frame), signed and dates lower right "F. Vezin. [19]05". - Cardboard slightly curved, small inconspicuous retouch at the centre of the upper edge of the picture. About the artwork Although the painting appears to be a sketch, Frederick Vezin considered it to be a finished work of art, as evidenced by his signature on the lower right. And it is precisely this sketchy quality that leads to an understanding of the painting, which was certainly created in the landscape itself: the natural phenomena were to be depicted artistically at the moment of their observation. This is not done by meticulously sketching nature, but - and here Vezin follows the teaching of French Impressionism - by illustrating nature in its visual fullness. The artist's eye is, as it were, immersed in the visuality of nature, which is made visible by his hand. The painting is therefore not a reflection of the landscape, but its artistic intensification. This intensification also includes the fact that the foreground of the painting - corresponding to the field of vision - eludes a detail-oriented close-up view. Instead, the spatula-like application of paint, the vertical structure of which corresponds to the structure of the floral growth, has the effect of making nature tangible in its colourful substance. At the same time, the foreground, which remains indeterminate in its concrete objectivity, creates an atmospheric space that connects with the actual protagonist of the picture, the group of trees, which flares up in shades of red and brown. Here, too, the leaves are more speckled than clearly outlined. It is precisely this 'sketchiness' that opens up a visual experience that makes the landscape accessible in its visual fullness, thus revealing its essence. In addition to this abundance, the landscape is presented as a structure of order in that the composition of the picture makes the composition of the landscape visible. For example, the group of trees forms a distinct dark green shadow, which is repeated in the shadows cast by the trees behind it. A patterned diagonal axis is created in the picture, which is composed in this way by the landscape itself. Strictly speaking, this is a cultivated landscape: a fence at the bottom and a low stone wall at the top, running from left to right, are two elements that also have a strong compositional effect. And on the top of the hill, a stone house is embedded in the landscape as the brightest surface in the picture. Nature and culture here form a harmonious synthesis, giving the painting an Arcadian touch. In order to give the landscape as much space as possible, the horizon line is raised, but the design of the sky is also crucial. The clouds, combined with the shapes of the trees, create a bright blue sky. To the European eye, such a sky is reminiscent of a summer landscape. Accordingly, within the seasonal cycle, the blue sky is reserved for summer, and French Impressionism is also primarily an ode to summer. In Vezin's painting, however, the brilliant blue sky stands above an autumnal landscape, some of the trees even defoliated. It can therefore be assumed that the painting was made not in Europe but in the United States, and that it illustrates the proverbial Indian summer, making Frederick Vezin a pioneer of American landscape painting. About the artist Frederick Vezin was the son of a French immigrant to the United States and a German-born mother. This predestined him to promote artistic exchange between the old and new worlds. Having spent part of his schooling in Germany, in 1876, at the age of 20, he enrolled at the Düsseldorf Academy of Art, where he studied with Peter Janssen the Elder, Eduard von Gebhardt and Wilhelm Sohn, among others. He graduated in 1883, settled in Munich and returned to Düsseldorf in 1895, where he lived until his death in 1933. A native of the United States, he travelled to the country frequently and became a popular portrait and society painter. His artistic talent, however, was most evident in his landscape paintings. Trained in French Impressionism, he developed a virtuoso use of colour and a free brushwork that remained tied to the landscape motif, opening up the landscape itself in a new way. Frederick Vezin turned his attention primarily to the landscape of his homeland, becoming a pioneer of modern American landscape...

A wonderful depiction of an Autumn landscape in Kent, Connecticut from the Mid-20th Century with puffed trees by the country side. For this beautiful depiction, we find distinct elements that are unique to the earlier works of George Lawrence...

Charles Harold Davis Autumn on the Farm, circa 1930s Signed lower left Oil on canvas 20 x 27 1/4 inches Provenance Private Collection, Florida Charles Harold Davis was born in Ame...